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When working in the realm of physical creative utensils, it is difficult to have no need for an eraser. From school, to work, to the arts there is more often than not something that needs to be repositioned or removed, and a myriad of good options are available for doing so. Today, I’ll take a quick look at one of those options, the Pentel Hi-Polymer white eraser.

The eraser itself is about 1 x ½ x 2 ½ inches (around the same size as other erasers of this type, including the Staedtler Mars Plastic) and comes in a cardboard sleeve (the sleeve is more useful than I had imagined, but quite standard). But, of course, the real meat of the question is: what does it erase? And the answer I found was anything I could throw at it. It removed almost all pencil marks with either high or low graphite density, as well as light and medium charcoal. It removed significant portions of Prismacolor pencils and Conte crayons, while heavily smearing grease pencils (China markers). Obviously, up the difficulty scale at inks, it didn’t remove either Micron or Copic marks but did significantly fade the former (aside from a little fading most inks are bulletproof when compared to polymer erasers).

Those results are pretty impressive, and in my comparison are virtually identical to my old standby of the Staedtler Mars Plastic eraser (albeit, the Staedtler had a cool plastic case, which is why I use it), and since the two are essentially the same product, my recommendation would be to use the cheaper or more readily available of them. The Pentel Hi-Polymer eraser is a nice, high-quality consumable that’ll get the job done for just about anyone from amateur to professional.

For my foray into the medium of charcoal I wanted to try as many varieties as possible (generally how I treat every artistic venture I endeavor on) but had a limited budget. Fortunately, they sell “raw” charcoal at department stores these days, in the particular case under the Daler Rowney brand at Walmart. But how does this willow charcoal compare to some of the other charcoal products that I’ve used? Let’s take a look.

Inside the box, there are 3 bags, each containing sticks of similar size (the bags being for small, medium, and large) that are approximately six inches in length. Now, I haven’t used any other brand of willow charcoal specifically, so my comparisons here will be to the similar vine charcoal and to compressed charcoal. In that regard, it is more scratchy and harder than vine charcoal, putting down a less consistent black that isn’t quite silky smooth and which smudges to be a more pale gray. The benefit of this is that it erases fairly easily, either with a cloth or an actual eraser.

Beyond that, there isn’t much to mention about the sticks as there are many natural inconsistencies with products like this that take plant material and bake it. The sticks themselves are quite fragile, but that just requires some getting used to and many artists pre-break theirs before starting on a project (what’s left can effectively be turned into a shading dust).

So, despite being from a big-box store, this product is entirely serviceable for an inexpensive price (not that charcoal is particularly expensive in the first place). It’s easily accessible and gets the job done, even making a nice addition to the drawing kit as a lighter, more easily workable material for sketches or laying out a work. It isn’t my preferred type of charcoal, but for a beginner (and perhaps even an expert), it’ll be entirely serviceable.

When looking at charcoals from afar, one of the last things you think about is how the necessary blending was achieved. Of course, there are many techniques for doing so on both large and small scales, with some being better than others. For those who want a simple replacement for their fingers and don’t have the patience to roll their own, packs of tortillons (rolled paper blending stumps) are available in most art stores or departments.

And really, there isn’t much to say beyond the fact that they do their job, and for a couple bucks you save the time of making them yourself (perhaps incorrectly). They’re one of my least favorite implements for blending and work best when you really don’t want to use your finger, and what you’re working on requires very fine detail (using a rag or a chamois is always preferable if you have the space).

While the paper isn’t of superior quality, it gets the job done, and the wrapping holds together through use and sharpening. If you’re looking for a blending stump there really is nothing else to it, and while someone somewhere likely has the best paper for the job, there’s nothing wrong with these ones.

As I’ve mentioned before, I haven’t significantly used charcoals in my artwork for most of my “career”, but recently stepped up and created a couple series using charcoal almost exclusively. For this I of course had to purchase most of the basic supplies for creating a charcoal drawing. As it happens, General’s produces a wide variety of inexpensive and readily available art supplies and they were the first ones I ran into when looking for compressed charcoal. I expected them to work, but not be anything spectacular. Was I right?

The set contains 4 sticks of charcoal that have been broken down and then compressed with a binder in 4 different hardnesses (2B{x2, in my pack}, 4B, and 6B). Each creates a relatively smooth and richly dark line that is very easy to smear and blend but very difficult to erase. The softer sticks do indeed create a darker and more consistent line but unsurprisingly seem to disappear in your hand while you’re using them. When compared to the “natural” vine charcoal these darker and more difficult-to-erase lines serve a different purpose: they are for further on in drawing’s development, when you are beyond the sketching stage and have most of the structure of your image created.

In my experience, these General’s sticks performed adequately. They were certainly darker and smoother than cheaper ones found in “sketching kits” that you can buy at department stores. However, they do still go down in a bit of a “chunky” pattern and aren’t true black. There is also a bit of a problem with breaking, but that’s just par for the course with this type of product. If you’re used to crayons, you’ll have to be very careful when handling these, or you can be like many artists I’ve seen and “pre-”break them in half before actually using them, which also makes it easier to get in close and work on detail areas.

These guys pretty much keep pace with a lot of General’s products. They work well, are easily available, and don’t break the bank (though they’re actually closer to the top end of the price spectrum in this case). They are a fine solution for people at all skill levels with the studio space to set up and use charcoals.

I must admit before I start here that I’m not really one for charcoal as a drawing medium. It requires a fair amount of space that it’s alright to be perpetually stained with black. So, you basically need studio space in order for it to be at its peak performance, and I do not have studio space. But, I can take art classes, and that is where most of my experience with vine charcoal comes from. There are quite a few places to buy it cheaply, and the manufacturing process is probably one where it would be difficult to weed out natural inconsistencies. From my experience with several different brands, I have a hard time really telling the difference; but the main ones I’ve gone with is a set from Dick Blick, mostly because they were the last ones I was able to try out.

Vine charcoal is a particularly finicky type of drawing medium that goes down smoothly with a rich black color, and wipes away to nearly nothing with a hand or a cloth (though, if applied directly to paper, even an eraser won’t be able to remove the last ghost of a line). The sticks themselves are essentially raw: they are just vines that have been charred. Most sets (including this one) give you a pretty good selection of widths, all at around the same length. Even the girthiest of these break quite easily and most artists break them down a more manageable size both for this reason and to make manipulating them easier (I personally don’t for the most part, but then again I am persnickety). This particular set performed well. I was able to sketch with ease and clarity, while erasing and blending quickly and as cleanly as possible (and the dust trapped in my cleaning cloth made excellent shading powder in other drawings).

Blick offers a wide range of relatively inexpensive products of quality along with their brand-name selection. These fit in nicely and will get the job done. If you’re already ordering art supplies and want some vine charcoal I’d certainly recommend this (or if Blick is actually your local store)(shipping would probably be too much to make this worth ordering alone). And while there certainly may be better charcoal out there somewhere, you won’t have any problems practicing or finishing drawings with this stuff (just be sure to get a fixative if you don’t want it to disappear).

For quite some time now, my go-to ballpoint pen has been the Zebra F-301. I carried one around with me every day and have one in each of my various bags. To me, they are a very good compromise between writing performance, durability, availability, and expense. But recently I managed to crack off the plastic grip in my daily carry pen (in quite the unremarkable way, I just fidgeted with it too much and was popping the threads) and even though it is a problem that I’m not likely to replicate in the future, it set me on a quest to find an all-metal replacement that won’t have a similar problem. I’ve been fairly happy with other Zebra products in the past (with the exception of their fountain pen) and I ended up finding the “upgraded” version of the pen I was currently using, the F-701. This all stainless-steel pen with a knurled grip is supposed to be durable, elegant, and precise. Does it live up to its own advertising?

The body of this pen looks simple even when compared to the already minimal F-301. A 3/8ths tubular body uses more than 4 of the pen’s overall 5 ¼ inches in length. The last inch or so from the tip is very finely knurled to form the grip section, after which is a stainless-steel cone with some cosmetic step-downs. This cone screws off, providing the only access to the refill or inside the pen at all, allowing you to see that the walls of the body are about 2mm thick. On the other side of the pen there is a highly polished clip in the bent-spring steel fashion with “ZEBRA” and “F-701” stamped into it that is joined to the top of the barrel with the only bit of exposed plastic on the pen. Above this is a clicker button, which is, in fact, a plastic plunger with a metal sheath. You can theoretically remove this sheath, but there is no reason to (it doesn’t give you access to anything) and it doesn’t look like it will come off under normal conditions.

The refill is exactly the same as the refill for the F-301, which means it is fantastically smooth for a ballpoint, with a black that’s dark enough and generally resistant to wear (I believe you could also swap in one of their gel refills if that’s more your thing). This smoothness is added to by the weight of the pen, which is almost twice that of the 301, and it really shrugs off the common complaint that ballpoints require too much pressure to write with comfortably. I can write in cursive with one of these pens as fast and as easily as I could with any of my fountain pens and I get the benefit (or detriment) of that thin, precise line. The clip is almost identical to that of the 301, but it seems to be attached more securely and doesn’t have as much of a problem with bending away and losing its grip over time (but this is still an area that can be improved: I wouldn’t clip on anything thicker than a piece of fabric). The knurling on the grip is superb, completely removing any slipperiness while being fine enough to not dig into the skin to be noticeable. This, combined with the larger size, will probably be good news for anyone who has cramped up trying to hold onto the 301 series. And finally, the click mechanism is very smooth with a nice amount of back pressure. Despite claims that it is “silent” there is still a noticeable click, but it is much less satisfying. The overall mechanism feels much more structurally sound and is nicer but ever-so-slightly more difficult to push.

I would consider the 701 an upgrade in almost every way. It is heavier, thicker, and more expensive. But the all-metal body is (even more) rugged, and the feel of the writing experience from click to page is smooth and seamless. My complaints are limited to the clip still being a problem if bent out even just a little, and the habit the shiny metal body (especially the polished clip) has of collecting scratches (some people might also be displeased about the grip being not-grippy enough for them, or the body feeling cold/heavy because of its metal construction). For the price, I’d say this is the best you could do for a ballpoint, and I might even go so far as to put it up as one of the best ballpoints I’ve ever used.

Earlier this year, my Fischer Space Pen Stowaway finally had the accident I was worried it might all along (the two halves of the pen became separated, and now I only have a cap). So, I needed to acquire some new small, daily carry pen. The choice wasn’t particularly difficult, my go-to ballpoint pen company, Zebra, has been making a collapsible pocket pen for some time and previously I simply never had an excuse to buy it. But, now that it’s in my hands, does it actually hold up?

When retracted the pen is absolutely tiny at just over 3¼ inches long. The rear part of the pen is a cylinder 7mm in diameter and just under 2 inches long. At the top of this tube is a flat chrome finial with a simple chrome clip extending just beneath it. At the other end of the tube is a slight polished step-down that leads to a smaller tube, at the end of that is a similar step-down leading to a polished metal cone. Grabbing the smaller tube and pulling forward slides it out from the larger tube about an inch. This action also retreats the cone a quarter inch into the pen and pushes the point of the pen out of the end (leaving you with an overall length of 4¼ inches). Both of these cylinders are constructed of metal with a matte black finish applied, and the only markings are the word “zebra” written in silver near the bottom of the larger barrel.

The retraction and extension method is a bit clunky and sticky, but it is very solid feeling and doesn’t show signs of failing anytime soon. The only potential problem I can see is that you need to be holding the tube that extends in order to write or the whole thing collapses back up again. The fine, .7mm ballpoint tip is, like all of Zebras refills incredibly smooth for a ballpoint while still having minimal skipping issues and providing a consistent and dark line (it writes almost identically to their standard refills for the “F” ballpoint series, but is a smaller, specialty refill). The extension of the pen is just enough to place it in the crook of most hands, allowing for it to be supported when writing, but the barrel/grip section, even for a lover of thin pens like myself, is small enough that your hand will cramp up over longer writing sessions (but this pen obviously wasn’t meant for that).

If you’re looking for a pen that maximizes space while still being rugged and usable, this is a definite winner. The metal construction is hardy, while the extending feature is handy. It is easy to refill by screwing out the front cone (preferably when collapsed) but remains safely in one piece throughout normal use. The clip is very grippy and sturdy while not being sharp or prone to rip fabric, and its situations so near the top allows for deep carry with very little sticking out above to get caught or seen (though this is actually a problem for where I use it, as I have a hell of a time getting it out of the loop I’ve stored it in on my belt pouch. Something like that shouldn’t be an issue for most people). The writing is very nice and smooth with a permanence suitable to most people even though it can’t write upside down or underwater. And the price, while certainly higher than most ballpoint pens, is not going to break the bank.